James Levine, famously the world's most expensive conductor, is an
infrequent visitor to Britain. The Munich Philharmonic, of which Levine
has been chief conductor since 1999, is probably an even less frequent visitor
to these shores. The combination proved magical - with Levine drawing from
the orchestra intensely colourful playing in a challenging programme that
spanned the seriousness of Mozart's 39th Symphony to Berg's
catastrophic Op. 6, Three Pieces for Orchestra.

To hear this great orchestra under one of the most charismatic of conductors
persuaded me that Levine is indeed one of the finest conductors working today,
an opinion that I suspect is not shared by many.

I have never heard a performance of Tchaikovsky's Pathetique which concentrated
so hard on breathing individuality into this symphony's woodwind phrases,
counterbalancing the separated string writing and generating such fury and
electricity into the first movement's contrasted terrain. It was in turns
bitter and passionate, lyrical and frightening. Levine's performance of the
Berg was as emotionally draining as expected - although whether Levine felt
the same sense of catharsis that Herbert von Karajan felt after conducting
this 20 minute work is debatable. He certainly showed no signs of exhaustion
- emotional or physical.

The concert did not perhaps start on a high note. Levine's performance of
Mozart's E flat symphony proved at times ostentatiously laboured - the opening
chords, for example, were almost brought to a state of stasis, so heavy was
the phrasing (even with a significantly reduced string section). But this
was a surprisingly intimate performance - not as brutal as some I have heard
- and one that while mannered in places did not entirely lack sparkle. The
Minuet was anything but heavy, alert and fleet. Overall, however, it seemed
considerably longer than its half-hour time span - always a sign that not
everything was quite right.

The Berg, which closed the first half, was almost perfectly realised. The
textures, often dense in this piece - and no more so than in the final Marsch
- were often translucent and given a wonderful clarity of purpose and
development. The taxing percussion writing, the startling division of string
syncopation and the sense of impending catastrophe this work needs were all
finely balanced. When the work ended under a dark cloud of panic and
disintegration you full sensed you had travelled far to get there.

The truly astonishing performance was of Tchaikovsky's last symphony. If
there had previously been any doubts that perhaps Celibidache's great orchestra
had lost that glorious breadth of tone and expressiveness that make this
orchestra so spellbinding they were quickly dispelled. From the brooding
bassoon which crawled out of the depths of dark strings to the hushed, dying
end of the work this was a spellbinding performance. This is such a direct
work that almost any approach to it will work - and Levine is more direct
than most. There is nothing superficial about his interpretation - and certainly
none of the heart-on-sleeve emotion that Bernstein attached to this work.
There is no exaggeration, no distortion and a healthy observance of Tchaikovsky's
dynamic balance. This was as much an interpretation which weighed the
intellectualism of this symphony against its marked metronome balances. Where
many conductors are deaf and blind to Tchaikovsky's conception of this work,
Levine's performance had an omniscience and clarity of voice that was refreshing.
His allegro third movement was sublime and produced spontaneous applause
from many in the audience. His adagio was fleet, but lacked no passion
whatsoever.

The Munich Philharmonic responded magnificently - strings were extraordinarily
velvety (particularly basses placed on the far left of the stage) as were
violas and cellos which emerged from the centre of the orchestra like lava
erupting from the neck of a volcano. Brass, horns in particular, were note
perfect - and exuded a confidence one rarely hears in even the greatest
orchestras. The principle flute, clarinet and bassoon were all superlative,
giving their solos stunning vocal power.

This was exceptional music making and clearly enjoyed by a packed Barbican.
I look forward to hearing this thrilling partnership again.